Foose suggested Chris use Marcel’s Custom Metal to fabricate the aluminum hood and decklid skin, and Foose would add the louvers to both (with the hood louvers being done in a slightly fanned layout). While the car was back in SoCal getting that work done, Chris was gathering parts for the engine and working on a Nailhead engine for another vehicle. Chris told Chuck Vranas that he’d like a Cragar-type blower for the Nailhead, and Vranas mentioned it to Walden, who happened to be tooling up to remake Cragar 4:71 blower parts (including the snout, blower shaft, triple V-belt pulleys, rear cover plate, front triangle plate, and idler arm with tensioner). Walden told Chris he could scratch-build an intake manifold for the Cragar-to-Nailhead setup, and Chris liked the idea. He not only ordered all the blower parts for his Nailhead but, since he already had a Cragar blower intake for a 327, he ordered all the parts for one of those, too, to be used on this coupe project. Chris and John Standifer ended up building the motor, which uses a ’67 Corvette block as its base.

As the ’32 was coming together, Chris found a 1957 Fender guitar amplifier in an antique shop and liked the rough tweed material it was covered in and thought it would look good as part of an overall look he was leaning toward with the coupe. Chris confided to Foose he’d like the car to stay in its all-metal appearance, leaving Walden’s weld marks from the chop throughout, but both Foose and Walden told Chris he was going to hate it, with Walden adding “especially in Texas.” (Foose and Walden had worked together on a couple of projects years ago, starting with George Poteet’s “Snyper” back in 1997.)

After the car was fairly complete and ready to be blown apart at Foose’s for final wiring and brake and fuel lines, Chris remained adamant about having no paint on the car. But Foose presented an idea: What if he had it painted in such a way as to make it look like it was a ’60s-era survivor pulled from a barn with the exposed weld marks being a visual reminder of a recent chop? Chris liked the idea and the final piece of the build puzzle was in place.

Foose had Ray Hill, a painter who is renowned for the fantastic distressed paintjobs he creates on 18-wheel semitrucks, fly to Southern California to work on this project. The finished product is so realistic painters who stopped by after the car was done were all asking, “How’d he do that?”. For the new Tremec five-speed trans, Foose first sprayed the case with solvent-based gold paint, added the faux paint cracks and distressed look, then added a goo that he’d made using waterborne paint, pouring it on, wiping it off, and, after reapplying the mess until it looked caked on, coated the trans with a satin clear.

After Foose masked off the welded areas of the body, the car was painted with BASF products, and Foose then went back and feathered in those areas with a DA sander to expose the welds. Another aging trick used by Chris on some of the aluminum pieces, including the hood and decklid, was where he sprayed Easy-Off oven cleaner on them and let it soak in. The result is the cleaner reacts with the aluminum to produce an instant vintage appearance, and the overall distressed look makes it seem like an old hot rodder had started the project decades ago, but never got around to finishing or repainting his ride.

The chrome firewall looks old, too, but that’s because after Greg Cox at Artistic Silver Plating got the nickel plating done, Foose instructed him to only flash chrome the finish, which made it look old and yellow because it was so thinly applied.

A distressed look was employed by Austin Speed Shop when creating the interior, as they used the same tweed material found on the old Fender amplifier. And as for the brand-new leather, the material used on the bench seat (which was built by Craig Willits) looks like it came off an old sofa and the wear marks were scuffed into the leather around the window cranks to make it look they have been there for years. The gauge cluster, wired up by Foose’s Pete Morell, uses a red tortoise shell–like material (made by Fender Musical Instruments for their guitar pick guards), and a vintage Leedy & Ludwig bass drum pedal that Chris had owned forever (and waiting to install in the “right” car), has been configured as the car’s gas pedal.

Bobby Walden, commenting that “it’s usually a disaster” when one car is built at several shops, was surprised how smooth everything went between the principals on the project (Foose, Walden, Moal, Austin Speed Shop) and how they worked together to produce such a stellar result. And for Chris Andrews, who is usually surrounded by vehicles found at the highest end of collectability, having a loud and obnoxious hot rod to tool around town in is sort of like having a group of your biker buddies roll up at a formal wedding—you don’t know what is going to happen, but it’s definitely going to be a night to remember!